Dolores Tierney
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‘Poor reception’ and the popular
The history of classical Mexican cinema and its scholarship
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This chapter looks at how classical Mexican cinema has been studied. It begins with a history of cinema in Mexico up to and including the 1940s, including the advent of sound cinema. The chapter examines the state's relationship to popular culture (and particularly cinema) in Mexico in the 1940s in terms of a consolidation of the post-Revolutionary nationalist project. It challenges the film scholarship, local nontextual perspectives, which characterize Mexican cinema as 'underdeveloped' and suggests a means of reading against an approach that continually reasserts subalternity in the face of the colonizing culture (Hollywood). After a survey of US studies of classical Mexican cinema which diverge from Mexican analyses by making space for the 'other' through genre and textual analyses, it concludes by outlining how a textual approach might provide an account of Emilio Fernández' oeuvre as contradictory, non homogeneous and evident of a fissured cultural nationalism.

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Emilio Fernández

Pictures in the margins


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